"Bruce ~~'Paypal' = 'Papal' ???"
Funny you should say that Mike - it had crossed my mind; don't laugh out too loud.
Early in the 20th century the custom in rural Ireland was for those living in remoter areas to gather at each other's houses or at a convenient crossroads on a Saturday night, where a platform had been erected, to hold a dance -(a practice that gave rise to DeValera's "maidens dancing at the crossroads" reference)
The church looked askance at this, arguing that young people should not be allowed to congregate unsupervised. Priests regularly broke up these crossroads and house dances, often forcibly, smashing musical instruments and shaming the participants by naming them from the pulpit - pretty much as had happened in Scotland a century or so previously.
One elderly lady we know still bears the scars of these attacks in the form of a burst ear-drum from a blow she received from an irate priest for attending a house-dance.
The crossroads dances disappeared sometime in the early 1940s and the house dances shortly after, due to a combination of clerical and political pressure - a description from Fintan Vallely's excellent 'Companion to Irish Traditional Music.':
"Intense conservative lobbying was engaged in by the Church beginning as early as 1925, resulting in the Public Dance Halls Act, 1935. Under this, dancing required a licence which would only be given to persons approved of by a district judge - but effectively by the local clergy in many cases - and failure to comply was a criminal offence. Over-zealous vigalante-style enforcement of the Act by some clergy damaged social, non-commercial house dancing in places, and this, combined with the clergy opening up their own halls, for commercial, morally policed dancing gradually shifted the social dance from private space to public. Many argue that this destroyed music, and terminally discouraged players. but its new circumstances evolved 'the band', the ceili band in particular, as the mainstay of music for dancing in Ireland, so opening a new chapter in Irish music history."
Jim Carroll